{"id":8095,"date":"2026-01-08T11:00:00","date_gmt":"2026-01-08T10:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/come-as-you-are-nirvana-2\/"},"modified":"2026-09-20T00:01:43","modified_gmt":"2026-09-19T22:01:43","slug":"come-as-you-are-nirvana-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/come-as-you-are-nirvana-2\/","title":{"rendered":"Come as You Are – Nirvana"},"content":{"rendered":"

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Des contradictions, laiss\u00e9es dans la prise<\/h3>\n

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Le riff est un murmure avec une p\u00e9dale de chorus dessus, joli jusqu’\u00e0 ce qu’on remarque qu’il ne se r\u00e9soudra pas en confort. Kurt Cobain chante comme s’il vous invitait et vous avertissait dans le m\u00eame souffle. Come as you are. Puis le souvenir d’une arme, d’un ami, d’un ennemi. Come as You Are<\/em>, deuxi\u00e8me single de Nevermind<\/em>, est la chanson qui a prouv\u00e9 que l’album n’\u00e9tait pas seulement celui du cri. Elle est plus calme, plus mouill\u00e9e, et pas plus gentille. Dave Grohl joue avec une retenue qui fait du refrain une d\u00e9cision plut\u00f4t qu’une explosion. La basse de Krist Novoselic marche la contradiction sans choisir de camp.<\/p>\n

Butch Vig produit l’album \u00e0 Sound City, \u00e0 Van Nuys, la pi\u00e8ce c\u00e9l\u00e8bre pour un son de batterie et, sur ce morceau, pour une guitare qui semble avoir \u00e9t\u00e9 enregistr\u00e9e dans une bo\u00eete plus petite et plus m\u00e9chante. La distorsion Boss de Cobain et un chorus bon march\u00e9 ont fait la couleur. La voix est assez proche pour entendre le doute dans l’invitation. Il s’est inqui\u00e9t\u00e9, plus tard, de la ressemblance du riff avec Eighties<\/em> de Killing Joke, une parent\u00e9 qu’il n’a pas ni\u00e9e et avec laquelle il n’a pas v\u00e9cu heureux. Le single sort en 1992, apr\u00e8s que Smells Like Teen Spirit<\/em> a d\u00e9j\u00e0 fait d’eux un bien public. Le clip de Kevin Kerslake le met dans l’eau, un b\u00e9b\u00e9 qui nage, une arme, des images que l’ann\u00e9e ne sera pas autoris\u00e9e \u00e0 traiter comme de simples images.<\/p>\n

La m\u00e9thode du texte est le choc. Prends ton temps. D\u00e9p\u00eache-toi. Je n’ai pas d’arme. Les lignes s’annulent et donc restent. Il \u00e9crivait sur l’exigence que les gens arrivent comme un type, et sur son propre \u00e9chec \u00e0 \u00eatre le type, et il a laiss\u00e9 les phrases se disputer au lieu de conclure. Sur sc\u00e8ne la chanson pouvait \u00eatre plus lourde, le refrain un cri que le disque ne fait que sugg\u00e9rer. La version de studio est celle qui sonne encore comme un couloir. Vous \u00eates le bienvenu. Vous n’\u00eates pas en s\u00fbret\u00e9. Les deux phrases sont chant\u00e9es juste.<\/p>\n

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\n

Les lignes sont contradictoires expr\u00e8s. C’est au sujet de l’attente que tu seras une seule chose, et du fait que tu ne l’es pas.<\/p>\n<\/blockquote>\n

(Kurt Cobain, vers 1992, dans les entretiens r\u00e9unis par Michael Azerrad)<\/em><\/p>\n

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Nevermind<\/em> a aval\u00e9 le groupe et puis le groupe a disparu, et ce morceau est devenu l’un des rares qui fonctionne encore comme une salutation plut\u00f4t que comme un monument. Des gens qui ne supportent pas le mythe peuvent encore se servir du riff. C’est une mis\u00e9ricorde et un risque. L’eau du clip, le petit ampli, le refrain qui luit comme une fuite : rien de cela n’a \u00e9t\u00e9 con\u00e7u comme une relique. C’\u00e9tait un single, s\u00e9quenc\u00e9 apr\u00e8s un bruit plus grand, et il s’est trouv\u00e9 \u00eatre celui qui chuchote les vraies conditions.<\/p>\n

Ce qui reste, c’est la p\u00e9dale et le refus de choisir une instruction. Come as You Are<\/em> ne signifie pas ce que le titre promet si l’on reste pour le couplet. Cela signifie que la promesse est le probl\u00e8me. Vig a gard\u00e9 la pi\u00e8ce assez s\u00e8che pour qu’on l’entende. Cobain a gard\u00e9 les contradictions dans la prise, ce qui est toute l’\u00e9thique de la chanson.<\/p>\n

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